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Discipline-Based Art Education: a Curriculum Sampler

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Discipline-Based Art Education: a Curriculum Sampler DOCUMENT RESUME ED 382 559 SO 025 075 AUTHOR Alexander, Kay, Ed.; Day, Michael, Ed. TITLE Discipline-Based Art Education: A Curriculum Sampler. INSTITUTION Getty Center for Education in the Arts, Los Angeles, CA. REPORT NO ISBN-0-89236-171-9 PUB DATE 91 NOTE 327p. AVAILABLE FROMGetty Center for Education in the Arts, 401 Wilshire Blvd., Suite 950, Santa Monica, CA 90401-1455 ($9.95). PUB TYPE . Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MFO1 /PC14 Plus Postage. DESCRIPTORS Aesthetic Education; Architecture; Art Criticism; *Art Education: Art Expression; Art History; Ceramics; Creative Art; *Curriculum Development; Curriculum Guides; *Discipline Based Art Education; Elementary Secondary Education; Fine Arts; Learning Strategies: Museums; Thematic Approach; Units of Study; Visual Arts ABSTRACT This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose ?..nd use, Then 8 unit models wit.differing methodologies for relating art objectives to the four disciplines: aesthetics, art criticism, art history, and art production, are presented. The sampler consists of two elementary units, two units for middle school, two units intended for required high school art, one high school studio ceramic unit, and a brief unit for art teachers and art museum educators that focuses on visits to art museums. Learning activities, resource material, and learning strategies are given for the units along with a sequence of lessons organized on a theme. (1) "Art Touches the People in Our Lives" is a unit for primary level students that introduces children to basic concepts, and to selected elements and principles of art. They study ways artists use principles to express mood and meaning, learn about artists who have chosen emotional themes for their work, and express their own thoughts and feelings as they create artworks.(2) "Spaces and Places" is an elementary unit on architecture that shows how a topic might be articulated from one grade level to another.(3) "Many Ways of Seeing" is written for middle school students and investigates the concept of originality, the interpretation of visual language, symbolism, and the categories of fine art and folk art.(4) "Celebration!," also a middle school unit, investigates how cl;":erent cultures use art for common purposes.(5) "The Word as Image: Symbol to Gesture" investigates relationships between words and visual images in paintings and graphic arts, and leads to an understanding of contemporary abstract and non-objective painting. (6) "Art Exploration--A Global Approach" is a general education, high school unit, that gives balanced consideration to content from each of the four art disciplines. The unit presents a study of ceramics, painting, and sculpture, which incorporates art exemplars from many times, places, and cultures. (7) "The Artistic Heritage of Clay: Survival and Revival of Traditions" demonstrates how an elective high school studio course can focus on the art production discipline with enrichment from the other three art disciplines.(8) The final unit, "Experiencing Original Works of Art in a Museum," provides a model for engaging students in response to original works of art. (MM) DISCIPLINE -BASED ART EDUCATION: A CURRICULUM SAMPLER U.S. DEPARTMENT OF EDUCATION Office of Educational Research a scl Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) tl This document has been reproduced as . ece.ved from the person or organuation ongtnating 0 Mtnor changes have been made to improve reproduction quality Points of new or optnions stated In this docu- ment do not necessarily represent official OE RI posofion or policy 'PERMISSION TO REPRODUCE THIS *\1MATERIAL HAS BEEN GRANTED BY LeG TO THE EDUCATIONAL RESOURCES C INFORMATION CENTER (ERIC)." Edited by Kay Alexander and Michael Day Co-Directors, Curriculum Development Institute The Getty Center for Education in the Arts Santa Monica, California BEST COPY AVAILABLE 2 tr.+A.3. Xt..Walft 1991 fhe J. I' ;.,etty Trust, Santa Monica. California Ali rights reserved Printed in the United States of America The Getty Center for Education in the Arts, Santa Monica, CA Library of Congress Cataloging-in-Publication Data Discipline-based art education : a curriculum sampler / edited by Michael Day, Kay Ale \ ander. p. cm. "The Getty Center for Education in the Arts." includes bibliographical references. ISBN (1 -84236 -171 -9 : 50.05 1. ArtStudy and teaching (Elementar)United States. 2. ArtStudy and teaching (Secondar)United states. I. Day, Michael, 1938- .I I. Ale \ander, Kay. Ill. Getty Center for Education in the Arts N362.Ch 199 700dc20 90-2;233 CIP ISBN 0-89231, -171-0 Second printing In memoriam, Jane Gilbert 3 Table of Contents Foreword by Phillip Charles Dunn Introduction by Michael Day and Kay Alexander vii Curriculum Units I. Art Touches the People in Our Lives A-1 II. Spaces and Places B-1 III. Many Ways of Seeing C-1 IV. Celebration! D-1 V. The Word as Image E-1 VI. Art ExplorationA Global Approach F-1 VII. The Artistic Heritage of Clay: Survival and Revival of TraditionsG-1 VIII. Experiencing Original Works of Art in a Museum H-1 vde-t4.1,--hrwring.~0v -w:-kzw-xpw(:7vwxr.wvmaxFermfttuo.oekmref-..r-r., Foreword In December 1987 the Getty Center for Education in the Arts convened an advisory group of nationally recognized art educators and curriculum devel- opment experts to discuss the current status of curriculum development in art education. The consensus of the advisors was that a suitable example of a discipline-based curriculum in art was not yet available to the field. Moreover, the group confirmed the Center's long-held assumption that any attempt to create a single curriculum that reflected the discipline-based art education (DBAE) approach was inappropriate because of the increasing cultural diver- sity in school populations and because of the need for teachers to adapt art content to the needs of their students. The task force recommended that the Center for Education in the Arts concentrate on encouraging the development of multiple prototypes of DBAE curriculum units by encouraging collaborations between art specialists, museum educators, and representatives from the art disciplines and curricu- lum development field. During the past three-and-one-half years a group of dedicated art and museum educators along with an artist, art critic, art historian, and aesthetician have labored long and hard to create Discipline-Based Art Educa- tion: A Curriculum Sampler. The sampler seeks to be exactly what its name implies. It contains a wide variety of teacher-authored approaches that demon- strate the diversity of how DBAE can be taught to students at all grade levels. It does so by providing examples of teachers writing for teachers, and it contains eight units that illustrate eight different ways in which DBAE can be approached. The units are meant to be perused, examined, dissected, and shared with other teachers. They are meant to be thought-provoking and used as take-off points for art specialists to create curriculum-writing teams to design their own versions of discipline-based art curricula. The Getty Center for Education in the Arts is pleased to present this compilation of teacher-authored units in the sincere hope that it will provide a spark that ignites innovation in the content and structure of art curricula in our nation's schools. Phillip Charles Dunn Associat: Professor of Art University of South Carolina Program Officer Getty Center for Education in the Arts, September 1988August 1990 r v !nr:-"°"61-114r77,17"--47*". Introduction Discipline-Based Art Education: A Discipline-Based Curriculum Sampler is a collection of eight curriculum units written by Art Curricula teams of art specialists with content The multiplicity of meanings of the derived from four art disciplines: term curriculum is a well-known aesthetics, art criticism, art history, problem in education. Walker (1990, and art production. Each unit featuresp. 5) identified five concepts of cur- a sequence of lessons of ganized on a riculum as 1) subjects offered for theme and includes learning activi- study, 2) educational activities, ties, resource materials, and evalua- 3) intended learning, 4) students' tion strategies. The Sampler demon- experiences, and 5) learning out- strates the capabilities of art special- comes. Each of these conceptions is ists in designing and building their useful in varying contexts. From the rZ own discipline-based art curricula literature on the subject of DBAE, the using their own expertise and avail- designated definition of curriculum able professional resources. It repre- for this project is: sents versions of discipline-based art education (DBAE) similar to what a series of art lessons, actual might be written, given expert sup- written plans with objectives, port, by colleagues of the 18 unit motivation and learning activities, writers, who are elementary, middle, and methods of evaluation. The and high school art teachers; art series of lessons are organized supervisors; and art museum educa- seouentially for cumulative tors. These units were written for learning....The curriculum also teachers at the elementary, middle, provides resource materials for and high school levels who are teachers, such as suggested familiar with DBAE and who have procedures for conducting les- the background of professional sons, vocabulary
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